The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use
of web - based commerce spins an absurdist view on the commodification
of artists; Babette Bloch's stainless steel reassessments
of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments
of under - the - radar
narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory
of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal
narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness
of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions
of science,
nature and objective truth; Emilie Lemakis's monumental amplification
of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions
of movement and stillness; the alchemy
of Michael Townsend's uncontrolled poured acrylic paintings equate the properties
of materials with the turbulence
of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history
of a musical instrument.
Often drawing from popular
science - fiction imagery and
narrative, Atherton challenges the ambiguous separation between the natural and the fantastic, creating a theater through which to experience the grotesque side
of nature.
Mystic Geometry is Katerina Lanfranco's fourth solo exhibition at the Nancy Hoffman Gallery, and her first exploring the
narrative and symbolic content
of abstraction through geometry derived from
nature,
science, and spirituality.
In his wide - ranging cycles
of works, each
of which is devoted to a unifying thematic
narrative, the Swiss artist Florian Germann (b. 1978; lives and works in Zurich) creates complex systems
of reference, playing with the role
of the artist - researcher as he approaches fields as diverse as culture,
science, and
nature.
It's ironic because
Nature, the «International weekly journal
of science», has a troubling involvement in the false
narrative and controlled message
of global warming
science.